Plot and compositional features of N. Gogol’s comedy “The Inspector General”

To Liu's question everyone! Question about the Inspector General, Where is the beginning and end of the comedy? Did Khlestakov want to deceive the officials and townspeople? given by the author Dasha the best answer is Understanding perfectly the power of satire and laughter, Gogol, with their help, tried to improve the life of society. Particular attention is paid to artistic skill, which is manifested in the composition of the play, the modeling of the characters of the characters and in the very problems of the work. Gogol's comedy is distinguished by its unusual construction. From the first words of the mayor, the action begins, but the events that usually precede the plot and are associated with the exposition become known to the viewer much later - they are scattered throughout the play.
The denouement of the comedy is also unusual - at first it is difficult to determine. At first glance, it is planned by Khlestakov’s departure: a proposal has been made for the wedding of the mayor’s daughter, the officials are glad that they managed to deceive the auditor. But the audience knows that Khlestakov is a dummy, that the action cannot end there. Shpekin appears and tells who Khlestakov is. Everyone understands that they have been fooled. The culprits were also found - Bobchinsky and Dobchinsky. Everyone is darkened, the mayor most of all. The action is winding down. And suddenly - a message from the gendarme about the arrival of a real auditor. This is something new in the drama of that time. As researchers of Gogol’s work note, “it’s difficult to even decide what we’re looking at - the denouement, or the culmination, or the beginning of a new action, completely different from the previous one. Most likely, both,”
The famous director V.I. Nemirovich-Danchenko said: “This finale represents one of the most remarkable phenomena of stage literature... Just as with one phrase of the mayor he tied up the play, so with one phrase of the gendarme he unties it - a phrase that makes a stunning impression, again due to its unexpectedness and at the same time an absolute necessity.” Gogol attached great importance to the ending. It is no coincidence that he described this scene in great detail. There is even a drawing of her, which is attributed to the author of the comedy; Having learned from the postmaster who Khlestakov is, everyone is amazed and upset, they feel uneasy. They, such swindlers, mistook the little guy for an auditor, rewarded him, warmed him up, and even equipped him for the journey like a great nobleman. But the worst thing was the new news, from which you can really go numb: a real auditor has arrived. What new things does this meeting have in store for officials, will they be able to hold on to their positions?
Khlestakov did not want to deceive them, they simply came up with it out of fear.

Answer from Slip through[newbie]
The beginning of the work took place when (sorry, I don’t remember who exactly) announced the arrival of the auditor. At first, Khlestakov did not suspect that he was being mistaken for an auditor; there was no deception on his part, but then, when everything was revealed to him, he did not disdain and took advantage of the fear of officials and townspeople, thereby deceiving them.

The author did not include some scenes of the fourth act in printed publications. Among them is phenomenon VIII, in which the doctor of charitable institutions Gibner manages not to give a bribe to Khlestakov. Why was such a plot excluded by the author? As you know, in scene I of the fourth act, Dr. Gibner did not participate, the judge, Strawberry, the postmaster, Luka Lukich, Dobchinsky and Bobchinsky stood in a “semicircle” and agreed on how to behave with Khlestakov, how to “slip” him money.

If you read in the faces of all Khlestakov’s meetings with officials who came to him one by one, then you can see how Khlestakov becomes impudent from scene to scene. He directly addresses Dobchinsky and Bobchinsky, without any preamble about the “strange incident” that happened on the road, with the question: “You don’t have any money?.. Borrow a thousand rubles,” but he agrees to 65 rubles and sends them away.

Next there was supposed to be a scene with Dr. Gibner, but Gogol removed it from the printed edition. Why? Dr. Gibner, who did not understand Russian, was not prepared for this meeting by the frightened officials, and was not present in the house

mayor. All his phrases are given in German, in them one can feel respect for the visiting auditor, but not fear, he does not “shake his body,” does not feel “on hot coals,” like the judge and postmaster, does not hold prepared money in his fist. Dr. Gibner behaves calmly with a person who is “authorized by power,” and Khlestakov cannot shout to him, like Strawberry: “Hey you! As you?" Khlestakov is forced to politely thank the doctor for the cigar (Gibner had no money: “No money... no money. Sehen Sie!”)

Gogol removes this scene not only because Doctor Gibner’s words require translation on stage, but most importantly because in this scene, compared to the previous ones, Khlestakov behaves completely differently. This violates Khlestakov’s line of behavior and the content of the subsequent monologue: “There are a lot of officials here. It seems to me, however, that they take me for a statesman. That's right, I let them get dirty yesterday. What a fool! I’ll write about everything to Tryapichkin in St. Petersburg...”

Where is the ending in comedy?

Although the third act of the comedy “The Inspector General” is the climax, the tension in the development of the action does not subside, as mentioned above, it only slows down somewhat in the first phenomena (Khlestakov’s meetings with officials and merchants).

In subsequent appearances, Khlestakov appears in a new role - passionately in love with both Anna Andreevna and her daughter Marya Antonovna, to whom he offers his hand and heart. The hero's emptiness and frivolity are especially evident in these scenes. The news that the horses are ready forces the groom to say goodbye to his new relatives: “to go to his uncle for one day, and back tomorrow.”

The last fifth act finds the mayor in a state of complacency and, most importantly, triumph. In phenomenon I, his secret dreams, his views on life and his position as mayor are especially clearly revealed. Now he will live in St. Petersburg and, thanks to his son-in-law, who “goes to the palace every day,” will become a general. He invites officials with their wives and other guests to his house to tell them that he is marrying off his daughter not to an ordinary person, “but to someone who has never existed in the world, who can do everything, everything, everything, everything.” !”.

And the mayor, like Khlestakov, strives to play a role higher than that in reality - he already feels like a general and has no doubts about the realization of his dream. The mayor “indulges in exuberant joy,” writes Gogol in the already named article “A warning for those who would like to play “The Inspector General” properly, “at the mere thought of how his life will now rush, how he will distribute places, demand at stations horses and make them wait in the front mayors, put on airs, set the tone.” And at this moment of triumph for the mayor and his wife, the denouement of the comedy comes (scene VIII) - the postmaster rushes in with a printed letter and announces to everyone gathered that the official, whom everyone took for an auditor, was not an auditor. The mayor and all the officials present cannot recover from the surprise. The officials, led by the mayor, were not deceived, but they themselves were deceived, mistaking the “icicle, rag” with a St. Petersburg physiognomy and in a private dress for an auditor. It turned out that each of the officials “screwed” him three to four hundred rubles. “How did we really make such a mistake?” - asks the judge. “Killed, killed, completely killed,” says the mayor in despair.

How much anger and what fury is felt in the words addressed by the mayor to himself (this is also emphasized by the author’s remarks): he hits himself on the forehead, in his hearts, in a frenzy, shakes his fist at himself, knocks his feet on the floor in anger. He blames himself for mistaking the “helicopter”, the “icicle” for an auditor: “... he deceived swindlers on swindlers, swindlers and swindlers such that they are ready to rob the whole world, he cheated on them. He deceived three governors!..” “Why are you laughing? “You’re laughing at yourself!..” - this famous remark of the mayor is addressed to the hall, to the seated audience.

He does not blame Khlestakov, he blames himself and those who first started the rumor about the auditor who had already arrived in the city. The culprits have been discovered - these are Bobchinsky and Dobchinsky, “city gossips, damned liars.” Everyone surrounds them, scolding and reproaching them. At this moment, a gendarme appears (he is not even listed among the characters in the poster) and informs the confused audience about the arrival of an auditor by personal order from St. Petersburg. This sudden announcement becomes for everyone, especially for the mayor, akin to a thunderclap, and his situation becomes “truly tragic.” The words of the gendarme complete the action of the comedy, and “the whole group, having suddenly changed their position, remains petrified” (author’s remark). What follows is a “silent scene.”

Glossary:

where is the ending in the comedy auditor
in which scene does the comedy The Inspector General take place?
where is the ending of the comedy the auditor
denouement of the comedy the auditor
The author did not include some scenes of the fourth act in printed publications

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How Gogol himself read the comedy

April 1 marked the 205th anniversary of the birth of Nikolai Gogol. His “The Inspector General” was and is being read in all schools of the country. Another thing is that not everyone sees (or wants to see) in the play the meanings that were most important for Gogol. Do you know that there is also “The Inspector General”? Who did the author himself consider to be the chief auditor? Or why did you compare the play with the painting “The Last Day of Pompeii”? If not, then our story is for you.

Bribes with greyhound puppies, a non-commissioned officer who flogged herself, “brother Pushkin, ... a great original” - many expressions from Gogol’s comedy “The Inspector General” have lived in the Russian language for almost two centuries. The play at one time was deservedly stolen for quotes. On stage, The Inspector General was staged in different ways, sometimes hilariously funny. Emperor Nicholas I attended the premiere in St. Petersburg, laughed loudly and, according to contemporaries, concluded: “What a play! Everyone got it, and I got it more than anyone else!” From that moment on, her triumphal march began across the stages of various theaters in Russia. They played and watched the play willingly and with pleasure. Apart from a number of officials, perhaps only the author was dissatisfied. Very displeased.

Triumph and denouement

Gogol wrote “The Inspector General” in 1835-1836, this was the heyday of his work. The idea, as you know, was suggested to him by Pushkin, who heard about a similar case and himself found himself in a similar story, which amused him greatly. At first, the censorship strictly treated the new opus of the famous writer, but then gave the play a go. Her contemporaries loved her, although much about her seemed strange to them. A decent comedy should have a positive hero, but in The Inspector General, no matter how you look at it, there is none. Any self-respecting play had to start with a beginning and have a clear ending. And in “The Inspector General” the action unfolds literally right off the bat: “I invited you, gentlemen, in order to tell you the most unpleasant news: an auditor is coming to us,” and nothing more. But there are two endings: the first is when they read Khlestakov’s letter, the second is when they find out about the real auditor. In addition, since we are talking about a district city, all the proper officials must be represented in it, but in the “Inspector General” there is not even a police officer. But there is, for example, a strange character - a trustee of charitable institutions... What does all this mean? What did the author want to say?

The answer to this question is not so easy. It would have been easy if Gogol had only written a play and left no explanations for it. Then everything would be on the surface, it would be an excellent comedy. But he also wrote “Theatrical Travel”, “A warning for those who would like to play “The Inspector General” properly”, voiced a number of other comments in letters to the actor Mikhail Shchepkin and other persons... And finally, ten years after “The Inspector General” itself (and during this time the play was performed in many theaters in Russia), he created a work that completely confused everyone. It’s called “The Inspector General’s Denouement” and has been preserved in two original editions. And it's worth delving into.

A real auditor

But first you need to pay attention to one thesis that is often heard in relation to this writer. The thesis is that there were, as it were, two different Gogols. The first became the author, for example, of “Evenings on a Farm near Dikanka” and “The Inspector General,” the second of “Selected Places from Correspondence with Friends.” The second one also threw the sequel of “Dead Souls” into the fire and starved himself to death, as a result of which he went to an early grave. This thesis is probably partly true. At first glance, early and late Gogol really seem to be different people. The first is extremely cheerful, the second is thoughtful and very religious. But such changes happen to ordinary people, let alone geniuses. Most likely, there were no “two Gogols” after all. And there was one - a very smart, subtle, searching person. Who asked himself very important questions. And if the mature Gogol rethought his own earlier play, then he had every right to do so. So what did he say about The Inspector General?

As if responding to the reproaches of critics, ten years later Gogol began to interpret his author's intention. The author of the comedy put the following words into the mouth of the First Comic Actor, the hero of “The Inspector General’s Denouement,” which was understood as the artist Mikhail Shchepkin:
“Take a close look at this city, which is depicted in the play: everyone agrees that there is no such city in all of Russia, it is unheard of that where we have officials, every single one of them is such monsters; at least two, at least three are honest, but here there are none. In short, there is no such city. Is not it? Well, what if this is our spiritual city, and it sits with each of us? No, let's look at ourselves not through the eyes of a secular person - after all, it is not a secular person who will pronounce judgment on us - let's look at least a little at ourselves through the eyes of the One who will call all people to a confrontation, before Whom are the best of us, do not forget this, They will cast their eyes down to the ground in shame, and let’s see if any of us will then have the courage to ask: “Is my face crooked?” (“The Inspector General’s Denouement”).

In other words, Gogol offered readers a symbolic understanding of his play. Of course, other readings of it are possible. For example, this: “The Inspector General” is just a very funny comedy, in fact a comedy of the absurd, because each character here speaks about his own things, the characters do not hear each other, hence the comic effect. Or: “The Inspector General” is a comedy of a social nature, because it shows different types of people that can be found in society. But still... Mature Gogol insisted that “The Inspector General” also has a deeper meaning. Officials are human passions that tear apart and ruin the city - the human soul. Khlestakov is a false, “secular,” as Gogol said, conscience. Any of our passions is capable of “agreeing” with her, giving her a bribe so that she turns a blind eye to inappropriate actions. Well, the real auditor who appears at the end of the play is the true conscience, which was pushed into the far corner of the soul so as not to interfere with life. And which, with the inevitability of a catastrophe, will appear at the very last moment of our lives, when nothing can be changed:
“Whatever you say, the inspector who waits for us at the door of the coffin is terrible. As if you don’t know who this auditor is? Why pretend? This auditor is our awakened conscience, which will force us to suddenly and at once look at ourselves with all our eyes. Nothing can be hidden from this inspector, because he was sent by the Named Supreme Command and will be announced when it is no longer possible to take a step back. Suddenly, such a monster will be revealed to you, within you, that your hair will stand up in horror. It’s better to make an audit of everything that is in us at the beginning of life, and not at the end of it” (“The Denouement of The Inspector General”).

Apocalypse

From a Christian point of view, Gogol is absolutely right. Moreover, he calls upon the Gospel when he talks about the need for repentance, a change of heart and mind. For the sake of this change and the salvation of every person, Christ ascends to Golgotha, dies and is resurrected. The Apostle Paul writes about the same thing when he reminds you: You were bought with a price, and calls you to remain slaves of Christ, and not slaves of people or passions. Yes, all this requires a huge amount of internal work. But it must be done, and it is better not to delay it until the last moment of life. Otherwise... a silent scene will happen, like in The Inspector General. And nothing can be changed.

By the way, Gogol compared his play with Karl Bryullov’s painting “The Last Day of Pompeii.” This is a disaster work, which depicts the inhabitants of the city a moment before death. On Bryullov’s canvas, unfortunate people are trying to escape from the red-hot lava of a volcano - but it is impossible to escape from it. Their faces express horror, they are paralyzed with fear. They can’t go anywhere, nothing can change. And although Pompeii at that moment was probably filled with thunder and screams, Bryullov also captured a kind of silent scene, like Gogol. That is, the apocalypse.

Laughter and that's it...

But here the question arises: does the author of “The Inspector General” give any answer to his thoughts and interpretations? What should a poor man, torn by passions, do, who has caught himself in bribing the “auditor”, that is, in dealing with his own conscience? Actually, yes, Gogol has the answer. And it is the same as always with this author: you need to laugh at yourself. Gogol's laughter is not only a valuable characteristic that is used in school essays. This is also a universal recipe for saving the soul. There, in “The Inspector General’s Denouement,” there are these words: “I swear, our soulful city is worth thinking about it, as a good sovereign thinks about his state. Noble and strictly, as he expels the covetous from his land, let us expel our spiritual covetous people! There is a remedy, there is a scourge that can drive them out. Laughter, my noble compatriots! Laughter, which all our base passions are so afraid of! Laughter, which was created to laugh at everything that disgraces the true beauty of a person. Let's return laughter to its true meaning!<…>In exactly the same way as we laughed at the abomination in another person, let us laugh generously at the abomination of our own, whatever we find in ourselves!” (“The Inspector General” denouement).

Gogol encourages you to laugh at your own passions. This does not mean becoming frivolous towards them. This means not giving them the importance that important officials in a county town can count on. And don't serve them. And then... these officials will simply lose power in the city. Ridiculed for their deeds, they will no longer be able to conclude a single deal and will be discredited. This means that fear of the “auditor” also has no place in the human soul: after all, what is there to be afraid of when passions are disarmed? This is the author's method.

Perhaps someone, after reading “The Inspector General” like this, will shrug their shoulders, be indignant and say: “Of course, Alexander the Great is a hero, but why break chairs?” Well, the reader has every right to do so. Mikhail Shchepkin, who was among the first to play in The Government Inspector, also, by the way, did not agree with Gogol. And this play is often staged in our time as just a very good comedy. However, Gogol decided differently for himself. And the author always has his own deep vision and the right to interpretation.

"Inspector"

A comedy in five acts by Nikolai Vasilyevich Gogol (1809–1852), written in 1835-1836. In the district town of N, various officials live their usual lives - accepting bribes and dodging their duties. The comedy begins with the arrival in the city of an adventurer named Khlestakov, whom everyone takes for the capital's auditor. The following action shows how easy it is to come to an agreement with the “inspecting authority” and what this leads to.

In the most common reading, “The Inspector General” is a satire on Russian reality, and the district town of N is a symbolic designation of all of Russia.

The premiere of the play took place in May 1836 at the Alexandrinsky Theater in St. Petersburg, Emperor Nicholas I was present at the performance. In the same month, “The Inspector General” was presented to the Moscow public by the Maly Theater, where the great actor Mikhail Shchepkin played the Mayor.

Alla Mitrofanova

AUDITOR'S DENOUNCING

CHARACTERS.

The first comic actor is Mikhailo Semenovich Shchepkin.

Pretty actress.

Another actor.

Fyodor Fedorych, theater lover.

Pyotr Petrovich, a man of great society.

Semyon Semyonich is also a man of considerable society, but in his own way.

Nikolai Nikolaich, literary man.

Actors and actresses.

First comic actor (coming on stage). Well, there's no need to be modest now. I can say that this time I definitely played well, and it was not without reason that the audience applauded. If you feel it yourself, if you are not ashamed of yourself, then it means the job was done properly.

A crowd of actors and actresses enters.

Another actor (with a wreath in his hand). Mikhaile Semenych [Name of the first comedian. actor. ] this is not the public, we are presenting you with a wreath. The public does not always distribute wreaths with strict discrimination; she gets a wreath from her and not for great services, but if her brothers and comrades, who are sometimes envious and unjust, if her brothers and comrades present a wreath to someone with a unanimous verdict, then it means that such a person is definitely worthy of a wreath.

First comic actor (accepting a wreath). Comrades, I know how to appreciate this wreath.

Another actor. No, not in your hand; put it on your head!

All actors and actresses. A wreath on your head!

Pretty actress (stepping forward with an imperious gesture). Mikhailo Semenych, a wreath on your head!

The first comic actor. No, comrades, I’ll take the wreath from you, but I won’t put it on my head. It is another thing to accept a wreath from the public as a usual expression of greeting, which she rewards anyone who has been honored to please her; not to wear such a wreath would mean to show disdain for her attention. But to wear a wreath among your equal comrades, gentlemen, for this you need to have too much arrogant self-confidence.

All. Diadem!

Pretty actress. A wreath on your head, Mikhailo Semenych!

Another actor. This is our business; We are the judges, not you. If you please, put it on first, and then we will tell you why you were crowned. Like this. Now listen: for this you have a wreath, because it’s already been too twenty years since you have been among us, and there is not one of us who has ever been offended by you; for the fact that you did your job more zealously than all of us and thereby inspired the desire not to get tired in your field, without which we would hardly have had enough strength. What outside force can push as much as a comrade will push by his example? Because you didn’t think about yourself alone, you didn’t bother about just playing your role well, but so that everyone didn’t make the same mistake in their role, and didn’t refuse advice to anyone, didn’t neglect anyone. Because, finally, they loved the work of art as much as none of us ever loved it. - And that’s why we present you with every single wreath now.

The first comic actor (touched). No, comrades, it was not so, but I would like it to be so.

Enter Fyodor Fedorych, Semyon Semyonitch, Pyotr Petrovich and Nikolai Nikolaich.

Fyodor Fedorych (rushing to hug the first actor). Mikhailo Semenych! I don’t remember myself, I don’t know what to say about your game: you’ve never played like that before.

Petr Petrovich. Do not consider my words to be flattery, Mikhailo Semenych, but I must admit, I have not seen, and I can say without boasting, I have been to all the first-class theaters in Europe, I have seen the best actors, I have not seen such a game, do not take my words for flattery.

Semyon Semenych. Mikhailo Semenych (powerless to express in words, expresses with a movement of his hand), you are simply Asmodeus!

Nikolai Nikolaich. To fulfill one’s role in such perfection, in such finality, so consciously and in such consideration of everything - no, this is something above ordinary transmission. This is the second creation, creativity.

Fyodor Fedorych. The crown of art - and nothing more! Here you finally learn the high meaning of art. Well, what is, for example, attractive about the face you just imagined? How can you give pleasure to the viewer in the skin of some rogue? - and you delivered it. I cried; but he did not cry from fate or the position of his face, he cried from pleasure. The soul became light and easy. It’s light and bright because they exposed all the shades of the rogue’s soul, because they made it clear to see what a rogue is.

Petr Petrovich. Allow me, however, leaving aside the masterful setting of the play, the likes of which, I admit, I have never seen - and I can say without boasting, I have been to the best theaters - I don’t know to whom the author is indebted for this: whether you, gentlemen, or the management of our theaters , - probably both together, but such a situation will bear at least some play. Do not take my words for flattery, gentlemen. Allow me, however, leaving all this aside, to make me a remark about the play itself, the same remark that I made ten years ago, during its first performance: I don’t see in “The Inspector General,” even in the form in which as it is given now, there is no significant benefit for society, so that it can be said that this play is needed by society.

Semyon Semenych. I even see the harm. In the play our humiliation is exposed to us; I don’t see love for the fatherland in the one who wrote it. And besides, what disrespect, what even insolence... I don’t even understand it: how dare you say to everyone’s face: “Why are you laughing? - you’re laughing at yourself!”

Fyodor Fedorych. But, my friend, Semyon Semyonich, you forgot: it’s not the author who speaks, it’s the mayor who speaks; this is said by an angry, frustrated rogue, who, of course, is annoyed that they are laughing at him.

Petr Petrovich. Allow me, Fyodor Fyodoritch, let me note to you, however, that these words definitely had a strange effect; and, probably, more than one of those sitting in the theater thought that the author seemed to be addressing these words to himself: “You’re laughing at yourself!” I’m saying this... you won’t take my words, gentlemen, for any personal dislike towards the author, or prejudice, or... in a word, it’s not that I have anything against him, you understand; but I’m telling you my own feeling: it seemed to me as if at this moment there was a man standing in front of me who was laughing at everything that we have: at morals, at customs, at orders, and, having made us laugh at all this, He tells us to our face: you are laughing at yourself.

The first comic actor. Let me say a word here: it came out naturally. In a monologue addressed to himself, the actor usually addresses the audience. Although the mayor was unconscious and almost delirious, he could not help but notice the grin on the faces of the guests, which he aroused with his ridiculous threats to Khlestakov, who had deceived everyone, who at that time was rushing at full speed on his postal service, God knows in what parts. The author had no intention of giving exactly the meaning you are talking about: I am telling you this because I know the little secret of this play. But let me make a request on my part: well, what if the writer definitely had a goal to show the viewer that he was laughing at himself?

Semyon Semenych. Thank you for the compliment! At least I don’t find anything in common with the people featured in “The Inspector General.” Sorry. I do not boast that I am not without vices, just like all people; but still I am not like them. This is too much! The epigraph states: “There is nothing to blame for the mirror if the face is crooked!” Pyotr Petrovich, I ask you: is my face crooked? Fyodor Fedorych, I ask you: is my face crooked? Nikolai Nikolaich, I ask you: is my face crooked? (Addressing all others) Gentlemen, I ask you all, tell me: is my face crooked?

Fyodor Fedorych. But, my friend, Semyon Semyonich, is strange, and you asked the question again. After all, you are again not handsome, just like we are all sinners. It’s impossible to say so bluntly that your face is a model. No matter how you look at it, it’s a little crooked, but what’s crooked is also crooked.

Petr Petrovich. Gentlemen, you have gone into a completely different question. This lies on the conscience of every person; It’s funny for us to talk about who has a crooked face and who doesn’t. But here’s the main point, let me return to the same thing again: I don’t see much intelligence in comedy, I don’t see the purpose, at least this is not revealed in the composition itself.

Nikolai Nikolaich. But what other goal do you want, Pyotr Petrovich? Art already contains its purpose in itself. The desire for the beautiful and sublime is art. This is an indispensable law of art; Without this, art is not art. Therefore, in no case can it be immoral. It certainly strives for good, positively or negatively: whether it shows us the beauty of all the best that is in a person, or laughs at the ugliness of all the worst in a person. If you expose all the rubbish that is in a person, and display it in such a way that every spectator will receive complete disgust for it, I ask: is this not already praise for everything good? I ask: is this not praise for good?

Petr Petrovich. Undoubtedly, Nikolai Nikolaich; but let me tell you...

Nikolai Nikolaich (not listening). It’s not that it’s bad that they show us what’s bad in what’s bad, and you see that it’s bad in all respects; but it’s bad when they present it to us in such a way that you don’t know whether it’s evil or not, then it’s bad when they make evil attractive to the viewer, then it’s bad when they mix it up with good to such an extent that you don’t know which side to stick to , then it is bad that good is shown to us in such a way that you do not see good in good.

The first comic actor. I swear, the true truth, Nikolai Nikolaich! you said what I was always convinced of, but I just didn’t know how to express it so well. It is bad that you do not see good in good. And this sin is behind all the fashionable dramas with which we must entertain the public. The viewer leaves the theater and does not know for himself what he saw: whether the person in front of him was evil or good. It does not attract him to good, does not push him away from evil, and he remains just as in a dream, without having drawn from what he saw any rule for himself that would be suitable for anything in life, having even lost his way from the road along which he was walking. , ready to follow the first one to lead, without asking where or why.

Fyodor Fedorych. And add, Mikhailo Semenych, what torture for an actor to play such a role, if only he is a true artist at heart.

The first comic actor. Don't say it; your words hit the heart. You cannot comprehend how bitter it can be sometimes. You learn and unlearn this role, and you don’t know what expression to give it. Sometimes you forget yourself, you get into the position of your face, you become animated, you shock the viewer, and when you remember what you shocked him with, you become disgusted with yourself, you would like to simply fall into the ground, and you burn from applause as if from your own shame. I really don’t know what’s worse: to present crimes in such a way that the viewer is ready to almost reconcile with them, or to present deeds of goodness in such a way that the viewer does not boil with the desire to make friends with them? For me, both are rotten, not art. Nikolai Nikolaich said deeply: it is bad when you don’t see good in good.

Another actor. Fair, fair: it is bad when you do not see good in good.

Petr Petrovich. I can say absolutely no objection to this. Nikolai Nikolaich said deeply; Mikhailo Semenych developed even more. But all this does not answer my question. What you just said, that is, so that the good should really be exhibited with a magical force, captivating not only a good person, but even a bad one, and the bad should be depicted in such a contemptuous form that the viewer not only does not feel the desire to reconcile with the deduced faces, but, on the contrary, I would like to quickly push them away from myself - all this, Nikolai Nikolaich, should be an indispensable condition for any composition. It's not even a goal. Every work must have, above all this, its own, personal expression, Nikolai Nikolaich, otherwise its originality will disappear, Nikolai Nikolaich - do you understand this? That’s why I don’t see in “The Inspector General” the great importance that others attach to it. It is necessary that it be palpably clear why such and such a work was undertaken, what exactly it aims at, what it is heading towards, what new it wants to prove. That's what, Nikolai Nikolaich, and not what you say about art in general.

Nikolai Nikolaich. Pyotr Petrovich, how can you say what it’s heading towards... because it’s... it’s obvious.

Petr Petrovich. Nikolai Nikolaich, it’s not visible. I do not see any special purpose for this comedy found in the work itself; or perhaps the author hid it for some purpose; In this case, it will be a crime against art, Nikolai Nikolaich, no matter what you tell yourself. Let's take a serious look at this comedy: after all, “The Inspector General” does not at all make the impression that the viewer will be refreshed after it; on the contrary, I think you yourself know that some felt fruitless irritation, others even embitterment, but in general everyone was carried away by some kind of painful feeling. Despite all the pleasure that cleverly found scenes excite, the even comical position of many faces, even the masterful treatment of some characters, in the end there remains something like... I can’t even explain to you - something monstrously gloomy, somehow... then fear from our unrest. This very appearance of the gendarme, who, like some kind of executioner, appears at the door, this petrification that his words instill in everyone, announcing the arrival of a real inspector who must exterminate them all, wipe them off the face of the earth, destroy them in the end - all this somehow inexplicably scary! I confess to you reliably, à la lettre, not a single tragedy has produced such a sad, such a painful, such a joyless feeling on me. So I’m even ready to suspect whether the author had any special intention to produce such an effect with the last scene of his comedy. It can't just happen that way.

The first comic actor. But, finally, they decided to make this request. “The Inspector General” has been playing on stage for ten years. Everyone, more or less, attacked the painful impression he made, but no one asked why it was necessary to make it? - just as if the author had to write his comedy headlong and not knowing himself what it was about and what would come out of it. Give him at least a drop of intelligence, which you do not deny to any person. After all, it’s true that there is a reason for every action, even in a stupid person.

(Everyone looks at him in amazement.)

Petr Petrovich. Mikhailo Semenych, explain: this is something unclear.

Semyon Semenych. This smells like some kind of mystery.

The first comic actor. But how did you really not notice that “The Inspector General” is endless?

Nikolai Nikolaich. How endless?

Semyon Semenych. What kind of ending would that be? Five actions; Comedy doesn't happen at six. - Is there a new scolding to boot?

Petr Petrovich. Allow me, however, to point out to you, Mikhailo Semenich, what kind of play is this that has no end? I'm asking you. Is this really the law of art? Nikolai Nikolaich! After all, this, in my opinion, means bringing and placing a locked box in front of everyone and asking what is in it?

The first comic actor. Well, yes, if it is placed in front of you precisely so that you take the trouble to unlock it yourself?

Petr Petrovich. In this case, you need to at least say so or just give the key in your hands.

The first comic actor. Well, what if the key lies right next to the box?

Nikolai Nikolaich. Stop speaking in riddles! Do you know anything? That’s right, the author gave you this key, and you keep it and keep it secret.

Fyodor Fedorych. Announce, Mikhailo Semenych; I'm seriously interested in knowing what could really be hidden here! To my eyes, I don't see anything.

Semyon Semenych. Let us open this mysterious box. What kind of strange box is this, which, for unknown reasons, was brought to us, for unknown reasons, was placed in front of us, and, for unknown reasons, was locked from us?

The first comic actor. Well, what if it opens in such a way that you begin to wonder why you didn’t open it yourself, and if the box contains a thing that for some is like an old penny that has gone out of use, and for others, like a bright chervonets that has been valuable for centuries , no matter how the stamp on it changes?

Nikolai Nikolaich. So full of your riddles! Give us the key and nothing more!

Semyon Semenych. The key, Mikhailo Semenych!

Fyodor Fedorych. Key!

Petr Petrovich. Key!

All actors and actresses. Mikhailo Semenych! key!

The first comic actor. Key? Will you, gentlemen, accept this key? Maybe you'll throw it away along with the box?

Nikolai Nikolaich. Key! we don't want to hear anything more. Key!

All. Key!

The first comic actor. If you please, I'll give you the key. You may not be used to hearing such words from a comic actor, but what can you do? On this day my heart warmed up, I felt at ease, and I am ready to say everything that is in my soul, no matter how you accept my words. No, gentlemen, the author did not give me the key, but there are moments of mental state when something that was previously incomprehensible becomes clear to oneself. I found this key, and my heart tells me that it is the one; The box opened in front of me, and my soul tells me that the author himself could not have had any other thought.

Take a close look at this city, which is depicted in the play: everyone agrees that there is no such city in all of Russia, it is unheard of that where we have officials, every single one of them is such monsters; at least two, at least three are honest, but here there are none. In short, there is no such city. Is not it? Well, what if this is our spiritual city, and it sits with each of us? No, let's look at ourselves not through the eyes of a secular person - after all, it is not a secular person who will pronounce judgment on us - let's look at least somewhat at ourselves through the eyes of the one who will call all the people to a confrontation, before whom are the best of us, do not forget this, They will lower their eyes to the ground in shame, and let’s see if any of us will then have the courage to ask: “Is my face crooked?” So that he would not be as afraid of his own crookedness as he was not afraid of the crookedness of all these officials whom he had just seen in the play. No, Pyotr Petrovich, no, Semyon Semyonich, don’t say: “these are old speeches,” or “we already know that ourselves,” - finally, let me say the word. Well, really, as if I live only for buffoonery? Those things that are given to us in order to remember them forever should not be old: they must be accepted as news, as if we are hearing them for the first time - no matter who pronounces them to us - there is no need to look at the face of the one who says them. No, Semyon Semyonich, we should not be talking about our beauty, but about ensuring that our life, which we are accustomed to revere as a comedy, does not end in such a tragedy as this comedy that we just played did not end. Whatever you say, the inspector who waits for us at the door of the coffin is terrible. As if you don’t know who this auditor is? Why pretend? This auditor is our awakened conscience, which will force us to suddenly and at once look at ourselves with all our eyes. Nothing will be hidden from this inspector, because he was sent by a specific supreme command and will be announced about it when it is no longer possible to take a step back. Suddenly it will be revealed to you, there is such a monster in you that your hair will stand up in horror. It’s better to revise everything that is in us at the beginning of life, and not at the end of it. In place of empty ranting about ourselves and boasting about ourselves, and now visit our ugly spiritual city, which is several times worse than any other city, in which our passions run rampant, like ugly officials, stealing the treasury of our own soul! At the beginning of life, take an auditor and, hand in hand, look at everything that is in us, a real auditor, not a fake one! not Khlestakova! Khlestakov is a clicker, Khlestakov is a flighty secular conscience, a corrupt, deceptive conscience, Khlestakov will be bribed by our very own passions that dwell in our souls. With Khlestakov on your arm, you won’t see anything in our soulful city. Look how every official in a conversation with him cleverly turned out and justified himself. Almost a saint came out. Do you think that every passion of ours is no more cunning than any rogue official, and not only passion, even some empty, vulgar habit? She will turn around and justify herself so cleverly in front of us that you will still consider it a virtue and even boast to your brother and tell him: “Look what a wonderful city I have, how tidy and clean everything is in it!” Hypocrites are our passions, I tell you, hypocrites, because I myself have dealt with them. No, with a flighty secular conscience you won’t see anything in yourself: they will deceive her, and she will deceive them, like Khlestakov’s officials, and then she will disappear herself, so that you won’t find a trace of her. You will remain like a foolish mayor, who had already rushed into God knows where, and became a general, and probably began to proclaim that he would become the first in the capital, and began to promise places to others, and then suddenly saw that he was deceived and fooled all around by a boy, a superlative, a helipad, in which there was no resemblance to a real auditor. No, Pyotr Petrovich, no, Semyon Semyonich, no, gentlemen, everyone who holds the same opinion, abandon your secular conscience. Not with Khlestakov, but with a real auditor, let’s look at ourselves! I swear, our soulful city is worth thinking about it, as a good sovereign thinks about his state. Noble and strictly, as he expels the covetous from his land, let us expel our spiritual covetous people! There is a remedy, there is a scourge that can drive them out. Laughter, my noble compatriots! Laughter, which all our base passions are so afraid of! Laughter, which was created to laugh at everything that disgraces the true beauty of a person. Let's return laughter to its true meaning! Let us take it away from those who turned it into frivolous secular blasphemy over everything, without discerning either good or bad! In exactly the same way as we laughed at the abomination in another person, let us laugh generously at the abomination of our own, whatever we find in ourselves! Not just this comedy, but everything that appears from the pen of any writer laughing at the vicious and base, let us take it directly into our own account, no matter how it was written for us personally: you will find everything in yourself , if only you descend into your soul not with Khlestakov, but with a real and incorruptible auditor. Let us not be disturbed in spirit if some angry mayor, or, more accurately, an unclean spirit himself, whispered through his lips: “Why are you laughing? You’re laughing at yourself!” We will proudly tell him: “Yes, we laugh at ourselves, because we hear our noble Russian breed, because we hear the highest order to be better than others!” Compatriots! After all, I also have Russian blood in my veins, just like you. Look: I'm crying! Comic actor, I used to make you laugh, now I cry. Let me feel that my career is as honest as any of you, that I serve my land just as you all serve, that I am not some empty buffoon created for the amusement of empty people, but an honest official the great state of God and aroused laughter in you - not that dissolute laughter with which man laughs at man in the world, which is born from the idle emptiness of idle time, but laughter born from love for man. Together we will prove to the whole world that in the Russian land everything that exists, from small to large, strives to serve the same one to whom everything should serve, whatever is on the whole earth, rushes there (looking up) to the top! to the supreme eternal beauty!

1. What is the theme of the comedy “The Inspector General”?
The comedy "The Inspector General" is a comedy of manners. Its topic is bribery and corruption of officials; the author satirically depicts various abuses in the bureaucratic environment, as well as Khlestakov’s frivolity and dishonesty.

2. Who was the first to report the auditor? Why did everyone believe this message? Who is Khlestakov: a minor official and an insignificant person or a significant person? How does he appear in conversations with officials, merchants, the mayor’s wife and daughter?
For the first time they learned about the auditor from a letter received by the Governor and, since the auditor could already arrive and live in the city incognito, the eccentric and stupid gossips Dobchinsky and Bobchinsky mistook the Strange Visitor for the auditor, who turned out to be Khlestakov. Everyone believed their guess because they were very scared. In reality, Khlestakov is an insignificant and empty person, a talker and a braggart who does not know how to do anything, but knows how to benefit from the mistakes of officials. He quite cleverly adapts to his interlocutors and impresses everyone. He behaves freely with officials, boasts in front of ladies, and pretends to be a boss with merchants.

3. Where is the beginning and end of the comedy? Did Khlestakov want to deceive the officials and townspeople?
The plot of a comedy is an episode in which the prerequisites for the development of the plot are laid. In this case, it seems to me that this is the moment when Bobchinsky and Dobchinsky report that they saw the auditor.
The denouement is the moment when the plot comes to its conclusion. This is an episode of reading Khlestakov’s letter, from which it becomes clear to everyone that he is not an auditor.

4. Why are the landowners Dobchinsky, Bobchinsky and the mayor being deceived? Read and comment on the scene at the inn. For what reason do officials believe Khlestakov in the “scene of lies”? Remember and tell or read this scene out loud. What is the role of stage directions in comedy?
The landowners are deceived because they are stupid, they are captured by the sensation and want to be involved in it, and Khlestakov behaves atypically. The mayor believes them out of fear. For example, he takes all Khlestakov’s words about prison personally: Khlestakov is afraid that he will be sent to prison for not paying the innkeeper, and the Governor himself is afraid of prison for bribery. Wanting to avoid arrest, Khlestakov lies that he is a respected official, and the Mayor takes this as a hint that he is the auditor.
In the "lying scene" all the officials are very scared because they think that the drunk will tell the truth. They have never met such selfless liars as Khlestakov. He seems to believe himself. In addition, everyone is very afraid of him, because they all broke the law. The stage directions show how at first they did not dare to sit down, and then jumped up and shook with horror.

5. What did the news of the arrival of a new auditor mean and who is this new auditor - an official or the conscience of each character? Read this scene and prepare a detailed answer to this question.
The news of the arrival of a new auditor - the real one - meant the end of a career for each of the officials, and perhaps even prison. Everyone was already dumbfounded by their revealed mistake, and then there was the real auditor. The mayor says: “Killed, completely killed!” That was probably everyone's feeling.
I think this is a real auditor: people like, for example, Strawberry can hardly have a conscience. It seems to me that this is not conscience then, but fear of punishment, because if officials had a conscience, they would not behave this way. The same Zemlyanika stole from sick people, hired a doctor who doesn’t understand a word of Russian: it’s not surprising that all the patients “get better like flies.” Something like human feelings is visible in Gorodnichy, he even says words that Gogol himself would like to say: “Why are you laughing? You’re laughing at yourself!” He speaks these words not so much to officials, but to all of us. Because the auditor is not the conscience of officials, but ours.

6. Read the definitions of the main stages of plot development. What comedy scenes do you think correspond to these stages? (exposition, beginning, climax, resolution)
The exhibition is a reading and discussion of the letter received by the Mayor.
The beginning is a message from the landowners that they have found the auditor and the conversation of the Governor with him.
The climax is the scene where the Mayor boasts that he is leaving for St. Petersburg.
The denouement is the reading of Khlestakov’s letter.

7. It is known that Nicholas 1, after the first performance of the play, said: “What a play! Everyone got it, and I got it more than anyone else!” And Gogol exclaimed: “Everyone is against me!” How can we explain the indignation of all classes by the play?
Everyone was offended by the comedy because people of all classes were depicted satirically. The whole of Russia is depicted under the guise of a district town.